HERE NOW

"Here Now" energetic title, almost danceable, rhythmic, dynamic, flute halfway through, melodic metal prog with keyboards and tortured guitar, title calibrated to go on a quick journey, a synthetic condensation between GENESIS, KING CRIMSON and a little of choruses from QUEEN, it looks pretty good; the emotion is quickly assimilated in the air. "Serendipity" is a more relaxed, rhythmic track but also more about Phil's voice and the Frippian guitar. Finale with soaring percussions, if possible, a little BARCLAY JAMES HARVEST even, always a little synthetic in the vein of a TEARS FOR FEARS, flute at the end to disturb you in your musical approach. "The Waiting Game" arrives with a dark, melancholy intro, tortured sounds, spleen then it sets off on a more frank rhythm, with the voice put forward to give into the meditative lullaby. Clear percussions, soft voice suddenly, then exchange between bass, keyboard and guitar, all joined by Pia's angelic flute; the dark and Frippian side of the guitar notes mix with a warm synth at the end until a melancholy solo of the most beautiful effect, too short, I put the replay on. "Note From My Younger Self" and a dark intro on piano and flute, majestic; raised by the organ for a rhythmic, choppy tune, filled with instruments; musical breaks come and go highlighted by a dynamic bass à la Greg LAKE; an intimate and airy climate emerges in the middle, symphonic and grandiloquent, note that the voice increasingly resembles that of Michael from SAGA with a long, powerful final crescendo.

"The Garden" arrives with its centerpiece of more than 13 minutes, divided into 5 parts: it's beautiful from the start, it's unlike any other group, we're good with PGM there! The presence of Martin (the father) gives a divine resonance by bringing the voice of BEGGAR'S OPERA back to life, we are immersed in uncompromising prog, without boredom and without guessing as to the sequel, bam a bit of SPARKS or STYX from a suddenly, when I was talking about QUEEN earlier I confirm; it goes in all directions with a sudden lyrical surge, screeching engine noises, PINK FLOYD-like sounds in return, voice that returns to SAGA but who is actually singing? Break with voice, bass and well-anchored flute, the synth adds a dark side with cascading piano notes; the final part is a little easier with a long instrumental sequence which is a little fishy given what was on offer until dessert! "This Place" for the last piece of the album with the same sequence, voice, flute and keyboard then central break with this flute used in the most beautiful way in my opinion after an introduction to the church organ, flute except to be better highlighted. A plus to the voice again and the endless guitar solo and final piano arpeggio to make you melt.